Hegel Music Systems H190v Streaming Integrated Amplifier Measurements

Link: reviewed by Matt Bonaccio on SoundStage! Hi-Fi on April 1, 2025

General Information

All measurements taken using an Audio Precision APx555 B Series analyzer.

The Hegel Music Systems H190v was conditioned for 1 hour at 1/8th full rated power (~18W into 8 ohms) before any measurements were taken. All measurements were taken with both channels driven, using a 120V/20A dedicated circuit, unless otherwise stated.

The H190v offers three set of line-level analog inputs (two single-ended RCA, one balanced XLR), one MM phono input (single-ended RCA), one digital coaxial (RCA) S/PDIF input, three digital optical (TosLink) S/PDIF inputs, one USB input, left/right line-level pre-outs (single-ended RCA) and fixed-outs (single-ended RCA), one set of speaker level outputs, and on the front panel, one headphone output over 1/4″ TRS connector. An ethernet network input is also offered. For the purposes of these measurements, the following inputs were evaluated: digital coaxial, analog (XLR) line-level and phono, as well as the headphone output. There were no appreciable differences between the XLR and RCA line-level inputs, nonetheless, 1kHz FFTs for each are included in this report.

Most measurements were made with a 2Vrms line-level analog input, 5mVrms phono-level input, and 0dBFS digital input. The signal-to-noise (SNR) measurements were made with the default input signal values but with the volume set to achieve the achievable output power of 150W into 8 ohms. For comparison, on the line-level input, a signal-to-noise ratio (SNR) measurement was also made with the volume at maximum.

Based on the accuracy and randomness of the left/right volume channel matching (see table below), the H190v volume control is digitally controlled but operating in the analog domain. The H190v overall volume range is from -70dB to +38dB (line-level input, speaker output). It offers 2-3dB increments from position 0 to 9, and 1dB increments from positions 9 to 100. Also noteworthy is that several step positions do not actually change the volume (e.g., steps 84 and 85 yield the same volume level).

Our typical input bandwidth filter setting of 10Hz-22.4kHz was used for all measurements except FFTs and THD versus frequency, where a bandwidth of 10Hz-90kHz was used. Frequency response measurements utilize a DC to 1 MHz input bandwidth.

Volume-control accuracy (measured at speaker outputs): left-right channel tracking

Published specifications vs. our primary measurements

The table below summarizes the measurements published by Hegel for the H190v compared directly against our own. The published specifications are sourced from Hegel’s website, either directly or from the manual available for download, or a combination thereof. With the exception of frequency response, where the Audio Precision bandwidth was extended to 1MHz, assume, unless otherwise stated, 10W into 8 ohms and a measurement input bandwidth of 10Hz to 22.4kHz, and the worst-case measured result between the left and right channels.

Our primary measurements revealed the following using the line-level analog input and digital coaxial input (unless specified, assume a 1kHz sinewave at 2Vrms or 0dBFS, 10W output, 8-ohm loading, 10Hz to 22.4kHz bandwidth):

For the continuous dynamic power test, the H190v was able to sustain 250W into 4 ohms (~2% THD) using an 80Hz tone for 500ms, alternating with a signal at -10dB of the peak (16.1W) for 5 seconds, for 5 continuous minutes without inducing the fault protection circuit. This test is meant to simulate sporadic dynamic bass peaks in music and movies. During the test, the top of the H190v was very warm to the touch.

Our primary measurements revealed the following using the phono-level input, MM configuration (unless specified, assume a 1kHz 5mVrms sinewave input, 10W output, 8-ohm loading, 10Hz to 22.4kHz bandwidth):

Our primary measurements revealed the following using the analog input at the headphone output (unless specified, assume a 1kHz sinewave, 2Vrms input/output, 300 ohms loading, 10Hz to 22.4kHz bandwidth):

Frequency response (8-ohm loading, line-level input)

In our frequency-response plots above (relative to 1kHz), measured across the speaker outputs at 10W into 8 ohms, the H190v is near flat within the audioband (20Hz to 20kHz, -0.2/-0.1dB). The -3dB point is at roughly 120-130kHz, and -2dB at 5Hz. The H190v appears to be AC-coupled. In the graph above and most of the graphs below, only a single trace may be visible. This is because the left channel (blue or purple trace) is performing identically to the right channel (red or green trace), and so they perfectly overlap, indicating that the two channels are ideally matched.

Phase response (8-ohm loading, line-level input)

Above are the phase-response plots from 20Hz to 20kHz for the line-level input, measured across the speaker outputs at 10W into 8 ohms. The H190v does not invert polarity and yields only about +15 degrees of phase shift at 20Hz and -20 degrees at 20kHz.

Frequency response (8-ohm loading, MM phono input)

The chart above shows the frequency response for the MM phono input. What is shown is the deviation from the RIAA curve, where the input signal sweep is EQ’d with an inverted RIAA curve supplied by Audio Precision (i.e., zero deviation would yield a flat line at 0dB). We see a relatively flat (+/-0.5dB) response from 35Hz to 20kHz and a worst-case channel-to-channel deviations of roughly 0.1dB at 100 to 300Hz. Below 35Hz, there is steep attenuation (-3dB at ~17Hz), as Hegel appears to have implemented an anti-rumble filter on their phono input.

Phase response (MM input)

Above is the phase response plot from 20Hz to 20kHz for the MM phono input, measured across the speaker outputs at 10W into 8 ohms. The H190v does not invert polarity. For the phono input, since the RIAA equalization curve must be implemented, which ranges from +19.9dB (20Hz) to -32.6dB (90kHz), phase shift at the output is inevitable. Here we find a worst case of about +40 degrees at 20Hz and -100 degrees at 20kHz.

Frequency response vs. input type (8-ohm loading, left channel only)

The chart above shows the H190v’s frequency response (relative to 1kHz) as a function of input type measured across the speaker outputs at 10W into 8 ohms. The two green traces are the same analog input data from the speaker-level frequency-response graph above (but limited to 80kHz). The blue and red traces are for a 16-bit/44.1kHz dithered digital input signal from 5Hz to 22kHz using the coaxial input, the purple and green traces are for a 24/96 dithered digital input signal from 5Hz to 48kHz, and the pink and orange traces are for a 24/192 dithered digital input signal. At low frequencies, the digital signals yielded the same response down to 5Hz (-2dB) as the analog response. The -3dB points are: 21kHz for the 16/44.1 data, 46kHz for the 24/96, 50.5kHz for the 24/192 data, and 130kHz for the analog input. Also of note, all three digital input data showed brick-wall-type high-frequency filtering and a rise in output (up to +0.5dB) past 20kHz.

Digital linearity (16/44.1 and 24/96 data)

The chart above shows the results of a linearity test for the coaxial digital input for both 16/44.1 (blue/red) and 24/96 (purple/green) input data, measured at the fixed line-level outputs of the H190v, where 0dBFS yielded approximately 2Vrms. For this measurement, The digital input is swept with a dithered 1kHz input signal from -120dBFS to 0dBFS, and the output is analyzed by the APx555. The ideal response would be a straight flat line at 0dB. Both data were essentially perfect as of -100dBFS down to 0dBFS. The 24/96 data were at +2/3dB at -120dBFS, while the 16/44.1 data were +4/5dB at -120dBFS.

Impulse response (24/44.1 data)

The graph above shows the impulse response for a looped 24/44.1 test file that moves from digital silence to full 0dBFS (all “1”s) for one sample period, then back to digital silence, measured at the line-level fixed outputs of H190v. We see a typical symmetrical sinc-function response.

J-Test (coaxial)

The chart above shows the results of the J-Test test for the coaxial digital input measured at the fixed line-level outputs of the H190v where 0dBFS is just over 2Vrms. J-Test was developed by Julian Dunn in the 1990s. It is a test signal—specifically, a -3dBFS undithered 12kHz squarewave sampled (in this case) at 48kHz (24 bits). Since even the first odd harmonic (i.e., 36kHz) of the 12kHz squarewave is removed by the bandwidth limitation of the sampling rate, we are left with a 12kHz sinewave (the main peak). In addition, an undithered 250Hz squarewave at -144dBFS is mixed with the signal. This test file causes the 22 least-significant bits to constantly toggle, which produces strong jitter spectral components at the 250Hz rate and its odd harmonics. The test file shows how susceptible the DAC and delivery interface are to jitter, which would manifest as peaks above the noise floor at 500Hz intervals (e.g., 250Hz, 750Hz, 1250Hz, etc.). Note that the alternating peaks are in the test file itself, but at levels of -144dBrA and below. The test file can also be used in conjunction with artificially injected sinewave jitter by the Audio Precision to show how well the DAC rejects jitter.

Here we see a relatively strong J-test result, with several peaks in the audioband but at low levels, just above and below -130dBFS. This is an indication that the H190v DAC may have good jitter immunity.

J-Test (optical)

The chart above shows the results of the J-Test test for the optical digital input measured at the line-level pre-outputs of the H190v. The optical input yielded essentially the same result compared to the coaxial input.

J-Test (coaxial, 10ns jitter)

The chart above shows the results of the J-Test test for the coaxial digital input measured at the line-level output of the H190v, with an additional 10ns of 2kHz sinewave jitter injected by the APx555. The telltale peaks at 10kHz and 14kHz cannot be seen in the FFT. The performance of the optical input with 10ns of jitter was similar.

J-Test (coaxial, 100ns jitter)

The chart above shows the results of the J-Test test for the coaxial digital input measured at the line-level output of the H190v, with an additional 100ns of 2kHz sinewave jitter injected by the APx555. The telltale peaks at 10kHz and 14kHz can be seen, but are at the relatively low -100dBFS level.

J-Test (optical, 100ns jitter)

The chart above shows the results of the J-Test test for the optical digital input measured at the line-level output of the H190v, with an additional 100ns of 2kHz sinewave jitter injected by the APx555. The results are essentially the same as with the coaxial input.

Wideband FFT spectrum of white noise and 19.1kHz sine-wave tone (Linear Phase Fast filter, coaxial input)

The chart above shows a fast Fourier transform (FFT) of the H190v’s line-level outputs with white noise at -4dBFS (blue/red) and a 19.1 kHz sinewave at 0dBFS fed to the coaxial digital input, sampled at 16/44.1. The steep roll-off around 20kHz in the white-noise spectrum shows that the filter is of the brickwall-type variety. There are a few low-level aliased image peaks within the audioband at the -120dBrA and below level. The primary aliasing signal at 25kHz is highly suppressed and buried in the noise floor, while the second and third distortion harmonics (38.2, 57.3kHz) of the 19.1kHz tone are around -100dBrA.

RMS level vs. frequency vs. load impedance (1W, left channel only)

The chart above shows RMS level (relative to 0dBrA, which is 1W into 8ohms or 2.83Vrms) as a function of frequency, for the analog line-level input swept from 5Hz to 50kHz. The blue plot is into an 8-ohm load, the purple is into a 4-ohm load, the pink plot is an actual speaker (Focal Chora 806, measurements can be found here), and the cyan plot is no load connected. The chart below . . .

. . . is the same but zoomed in to highlight differences. Here we see that the deviations between no load and 4 ohms are very small at roughly 0.04dB. This is a strong result and an indication of a low output impedance, or very high damping factor. With a real speaker load, deviations measured at roughly the same level from 60Hz to 8kHz.

THD ratio (unweighted) vs. frequency vs. output power

The chart above shows THD ratios at the speaker-level outputs into 8 ohms as a function of frequency for a sinewave stimulus at the analog line level input. The blue and red plots are for left and right at 1W output into 8 ohms, purple/green at 10W, and pink/orange just at 103W. The power was varied using the H190v volume control. The 1W and 10W THD ratios were close, hovering around the 0.01% level from 20Hz to 4kHz, then up to 0.03% at 20kHz. The 103W THD ratios were higher and relatively flat across the audioband at 0.03% to 4Khz, then up to 0.05% at 20kHz.

THD ratio (unweighted) vs. frequency at 10W (MM phono input)

The chart above shows THD ratios as a function of frequency plots for the MM phono input measured across an 8-ohm load at 10W. For this measurement, the input sweep was EQ’d with an inverted RIAA curve. The THD values for the MM configuration vary from around 1% (20Hz) down to 0.02% at 4Khz to 20kHz. The limiting factor in the measured THD values is the noise floor (the analyzer cannot assign a THD value to a harmonic peak it cannot see below the noise floor), and since the RIAA curve applies more gain at low frequencies than high frequencies, we find the THD plots above roughly following the shape of the noise floor (higher to lower from low to high frequencies).

THD ratio (unweighted) vs. output power at 1kHz into 4 and 8 ohms

The chart above shows THD ratios measured at the speaker-level outputs of the H190v as a function of output power for the analog line-level input, for an 8-ohm load (blue/red for left/right channels) and a 4-ohm load (purple/green for left/right channels). THD ratios into 4 and 8 ohms are close (within 5dB). The 8-ohm THD ratios are relatively constant to the “knee,” ranging from 0.005% to 0.01%. The “knee” into 8 ohms can be found just past 100W, while the 4-ohm knee can be seen around 200W. The 1% THD marks were hit at 149W and 240W into 8 and 4 ohms.

THD+N ratio (unweighted) vs. output power at 1kHz into 4 and 8 ohms

The chart above shows THD+N ratios measured at the speaker-level outputs of the H190v as a function of output power for the analog line level-input, for an 8-ohm load (blue/red for left/right) and a 4-ohm load (purple/green for left/right). THD+N ratios into 4 and 8 ohms are close (within 5dB). The 8-ohm data range from 0.02% at 50mW, down to 0.005% in the 50 to 50W range.

THD ratio (unweighted) vs. frequency at 8, 4, and 2 ohms (left channel only)

The chart above shows THD ratios measured at the output of the H190v as a function of frequency into three different loads (8/4/2 ohms) for a constant input voltage that yields 20W at the output into 8 ohms (and roughly 40W into 4 ohms, and 80W into 2 ohms) for the analog line-level input. The 8-ohm load is the blue trace, the 4-ohm load the purple trace, and the 2-ohm load the pink trace. Here again we see the 8 and 4-ohm THD data are close together (within 5dB). Below 1kHz, the 4-ohm data yielded lower THD ratios whereas above 1kHz, the 8-ohm data were lower. These ranged from 0.006% at 20Hz, down to 0.003% from 60Hz to 200Hz, then up to 0.02-0.03% at 20kHz. The 2-ohm load ranged from 0.01% at 20Hz, down to 0.004% at 50-100Hz, then up to 0.06% at 20kHz.

THD ratio (unweighted) vs. frequency into 8 ohms and real speakers (left channel only)

The chart above shows THD ratios measured at the output of the H190v as a function of frequency into an 8-ohm load and two different speakers for a constant output voltage of 2.83Vrms (1W into 8 ohms) for the analog line-level input. The 8-ohm load is the blue trace, the purple plot is a two-way speaker (Focal Chora 806, measurements can be found here), and the pink plot is a three-way speaker (Paradigm Founder Series 100F, measurements can be found here). Generally, THD ratios into all three loads were close (mostly within 5dB), which is a strong result. As is typical with this test, the worst results were at 20Hz into the two-way speaker (0.04%), and at 20kHz into the 3-way speaker (0.04%). Generally, most of the measured THD ratios hovered around the 0.005% to 0.01% range below 4kHz.

IMD ratio (CCIF) vs. frequency into 8 ohms and real speakers (left channel only)

The chart above shows intermodulation distortion (IMD) ratios measured at the output of the H190v as a function of frequency into an 8-ohm load and two different speakers for a constant output voltage of 2.83Vrms (1W into 8 ohms) for the analog line-level input. Here the CCIF IMD method was used, where the primary frequency is swept from 20kHz (F1) down to 2.5kHz, and the secondary frequency (F2) is always 1kHz lower than the primary, with a 1:1 ratio. The CCIF IMD analysis results are the sum of the second (F1-F2 or 1kHz) and third modulation products (F1+1kHz, F2-1kHz). The 8-ohm load is the blue trace, the purple plot is a two-way speaker (Focal Chora 806, measurements can be found here), and the pink plot is a three-way speaker (Paradigm Founder Series 100F, measurements can be found here). We find that all three IMD traces are close to one another, with the real speakers yielding 4-5dB lower results in the 2.5-5kHz range, and 2dB higher results from 10kHz to 20kHz. Most of the IMD results are hovering around the 0.01%-0.02% level.

IMD ratio (SMPTE) vs. frequency into 8 ohms and real speakers (left channel only)

The chart above shows IMD ratios measured at the output of the H190v as a function of frequency into an 8-ohm load and two different speakers for a constant output voltage of 2.83Vrms (1W into 8 ohms) for the analog line-level input. Here, the SMPTE IMD method was used, where the primary frequency (F1) is swept from 250Hz down to 40Hz, and the secondary frequency (F2) is held at 7kHz with a 4:1 ratio. The SMPTE IMD analysis results consider the second (F2 ± F1) through the fifth (F2 ± 4xF1) modulation products. The 8-ohm load is the blue trace, the purple plot is a two-way speaker (Focal Chora 806, measurements can be found here), and the pink plot is a three-way speaker (Paradigm Founder Series 100F, measurements can be found here). We find very similar IMD ratios into all three loads, 0.03% from 40Hz to 250Hz, and 0.006% from 300Hz to 1kHz. Another strong result.

FFT spectrum – 1kHz (XLR analog line-level input)

Shown above is the fast Fourier transform (FFT) for a 1kHz input sinewave stimulus, measured at the output across an 8-ohm load at 10W for the balanced analog line-level input. We see that the signal’s second (2kHz) and third (3kHz) harmonic dominate at -80dBrA, or 0.01%. There are subsequent signal harmonics visible at and below -100dBrA, or 0.001%. On the right side of the signal peak, we find power-supply-related noise peaks, with the fundamental (60Hz) and second harmonic (120Hz) dominating at -105/-110dBrA (left/right), or 0.0006/0.0003%. Other noise peaks can be seen below the -110dBrA level.

FFT spectrum – 1kHz (RCA analog line-level input)

Shown above is the fast Fourier transform (FFT) for a 1kHz input sinewave stimulus, measured at the output across an 8-ohm load at 10W for the unbalanced analog line-level input. We see essentially the same FFT as with the analog balanced input above.

FFT spectrum – 1kHz (MM phono input)

Shown above is the fast Fourier transform (FFT) for a 1kHz input sinewave stimulus, measured at the output across an 8-ohm load at 10W for the phono (MM) input. We see that the signal’s second (2kHz) and fourth (4kHz) harmonics dominate at -65dBrA, or 0.06%, and -85dBrA, or 0.006%, respectively. There are subsequent signal harmonics visible at and below the -90dBrA, or 0.003%, level. On the right side of the signal peak, we find significant power-supply-related noise peaks, with the second harmonic (120Hz) dominating at -45dBrA, or 0.6%, and the fourth (240Hz) harmonic reaching -50dBrA, or 0.3%. Other noise peaks can be seen throughout the audioband, down to the -120dBrA level.

FFT spectrum – 1kHz (digital input, 16/44.1 data at 0dBFS)

Shown above is the fast Fourier transform (FFT) for a 1kHz input sinewave stimulus, measured at the output across an 8-ohm load at 10W for the coaxial digital input, sampled at 16/44.1. The results are very similar to the analog line-level FFTs above.

FFT spectrum – 1kHz (digital input, 24/96 data at 0dBFS)

Shown above is the fast Fourier transform (FFT) for a 1kHz input sinewave stimulus, measured at the output across an 8-ohm load at 10W for the coaxial digital input, sampled at 24/96. We see essentially the same result as with the 16/44.1 FFT above.

FFT spectrum – 1kHz (digital input, 16/44.1 data at -90dBFS)

Shown above is the FFT for a 1kHz -90dBFS dithered 16/44.1 input sinewave stimulus at the coaxial digital input, measured at the output across an 8-ohm load. We see the 1kHz primary signal peak, at the correct amplitude, with no signal harmonics above the -130dBrA noise floor, and power-supply noise-related peaks at the sub -100dBrA level.

FFT spectrum – 1kHz (digital input, 24/96 data at -90dBFS)

Shown above is the FFT for a 1kHz -90dBFS dithered 24/96 input sinewave stimulus at the coaxial digital input, measured at the output across an 8-ohm load. We see effectively the same FFT as with the 16/44.1 sampled data above.

FFT spectrum – 50Hz (line-level input)

Shown above is the FFT for a 50Hz input sinewave stimulus measured at the output across an 8-ohm load at 10W for the analog line-level input. The X axis is zoomed in from 40Hz to 1kHz, so that peaks from noise artifacts can be directly compared against peaks from the harmonics of the signal. The most predominant (non-signal) peaks are the second (100Hz) and third (150Hz) signal harmonics at just below -80dBrA, or 0.01%. Other peaks (both signal harmonics and power-supply noise related harmonics) can be seen at -100dBrA and below.

FFT spectrum – 50Hz (MM phono input)

Shown above is the FFT for a 50Hz input sinewave stimulus measured at the output across an 8-ohm load at 10W for the MM phono input. The X axis is zoomed in from 40 Hz to 1kHz, so that peaks from noise artifacts can be directly compared against peaks from the harmonics of the signal. The most predominant (non-signal) peaks are the second (120Hz) and fourth (240Hz) power-supply noise peaks at roughly -45/-50dBrA, or 0.6/0.3%, and the second (100Hz) signal harmonic at -50dBrA, or 0.3%.

Intermodulation distortion FFT (18kHz + 19kHz summed stimulus, line-level input)

Shown above is an FFT of the intermodulation distortion (IMD) products for an 18kHz + 19kHz summed sinewave stimulus tone measured at the output across an 8-ohm load at 10W for the analog line-level input. The input RMS values are set at -6.02dBrA so that, if summed for a mean frequency of 18.5kHz, would yield 10W (0dBrA) into 8 ohms at the output. We find that the second-order modulation product (i.e., the difference signal of 1kHz) is at -90dBRa, or 0.003%, while the third-order modulation products, at 17kHz and 20kHz are at the -85dBrA, or 0.006%, level.

Intermodulation distortion FFT (line-level input, APx 32 tone)

Shown above is the FFT of the speaker-level output of the H190v with the APx 32-tone signal applied to the analog input. The combined amplitude of the 32 tones is the 0dBrA reference, and corresponds to 10W into 8 ohms. The intermodulation products—i.e., the “grass” between the test tones—are distortion products from the amplifier and are at and below the -105dBrA, or 0.0006%, level.

Intermodulation distortion FFT (18kHz + 19kHz summed stimulus, coaxial digital input, 16/44.1)

Shown above is an FFT of the intermodulation distortion (IMD) products for an 18kHz + 19kHz summed sinewave stimulus tone measured at the output across an 8-ohm load at 10W for the digital coaxial input at 16/44.1 (-1dBFS). We find that the second-order modulation product (i.e., the difference signal of 1kHz) is at -90dBRa, or 0.003%, while the third-order modulation products, at 17kHz and 20kHz, are at the -85dBrA, or 0.006%, level.

Intermodulation distortion FFT (18kHz + 19kHz summed stimulus, coaxial digital input, 24/96)

Shown above is an FFT of the intermodulation distortion (IMD) products for an 18kHz + 19kHz summed sinewave stimulus tone measured at the output across an 8-ohm load at 10W for the digital coaxial input at 24/96 (-1dBFS). We find that the second-order modulation product (i.e., the difference signal of 1kHz) is at -90dBRa, or 0.003%, while the third-order modulation products, at 17kHz and 20kHz, are at the -85dBrA, or 0.006%, level.

Intermodulation distortion FFT (18kHz + 19kHz summed stimulus, MM phono input)

Shown above is an FFT of the intermodulation distortion (IMD) products for an 18kHz + 19kHz summed sinewave stimulus tone measured at the output across an 8-ohm load at 10W for the MM phono input. We find that the second-order modulation product (i.e., the difference signal of 1kHz) is at -70dBRa, or 0.03%, while the third-order modulation products, at 17kHz and 20kHz, are at the -90dBrA, or 0.003%, level.

Squarewave response (10kHz)

Above is the 10kHz squarewave response using the analog line-level input, at roughly 10W into 8 ohms. Due to limitations inherent to the Audio Precision APx555 B Series analyzer, this graph should not be used to infer or extrapolate the H190v’s slew-rate performance. Rather, it should be seen as a qualitative representation of the H190v’s mid-to-high bandwidth. An ideal squarewave can be represented as the sum of a sinewave and an infinite series of its odd-order harmonics (e.g., 10kHz + 30kHz + 50kHz + 70kHz . . .). A limited bandwidth will show only the sum of the lower-order harmonics, which may result in noticeable undershoot and/or overshoot, and softening of the edges. In this case, we find relatively clean corners, with only mild softening in the corners.

Damping factor vs. frequency (20Hz to 20kHz)

The final graph above is the damping factor as a function of frequency. We can see here very high damping factor ranging from roughly 500 to 250 (left) and 400 to 185 (right). This is a strong result for a medium-powered solid-state integrated amplifier.

Diego Estan
Electronics Measurement Specialist